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Search Results 0 to 3 of about 4 (some duplicates have been removed)
can't just go and move a brush around. i have to have a beginning. i don't want to just use models, figures. i just want to have some reason. and the beginning is adam and eve and a tree and a serpent and a garden, and that's enough, see. except that pat didn't like that kind of biblical con-- you know. and she said, "don't use adam and eve and creation. just say, 'you and me.'" and i liked that very much. i almost got that, didn't i, pat? passlof: yes. i can see just what i can do, and i could almost see the right thing to do. it wouldn't take much to get this started, huh? but, you know, i did this all in a couple of hours. the first five minutes is the best. [ laughing ] after that, you're in trouble. what am i going to do with these paintings? i have to think of something that will give me a start. i don't like the size of the figures. it's the wrong size. passlof: well, it's easy to cut them down. mm-mmm. i thought i could manage this size, and i now i see -- they are much larger than you usually do. yeah. and this, of course, is ridiculous. and that's ridiculous. absolutely r
, "tell me who this person is." i actually do find that a useful way of defining the notion of hollywood. now, joan, for you, has this hollywood style shaped your work? have you been moving away from it consciously or not? i don't see that one could make films or even live your life without being affected by hollywood style. it's so much a part of what we all grew up on what we all see what we all talk about, think about and it's almost a common language amongst, certainly people in america. i guess what i'm curious about is i want to ask james why do you think that executives are uncomfortable with more personal things and they prefer things that seem to be referential to other films-- because they'll do better? because they simply fit into something they've already done, so they feel...? despite presenting themselves as risk takers most executives in hollywood are quite the contrary. they are people allergic to risk. whit, you haven't had that much experience in hollywood itself but to what extent have you used it as a model to define yourself if necessarily against or next to...? i re
things you never knew existed. it's a rare film for really allowing us to see the pressures and the constraints and the demands on masculinity on men for an ideal of masculinity. i think in lang's kind of worldview, what he sees is that that little guy is going to lose, you know, that the cynics of the world are going to be able to prey on people who are believers. "scarlet street" could be considered film noir for a number of reasons. first of all, you have a kind of illusion of bourgeois or petty bourgeois order which the bank clerk represents, and that is disrupted. he's cast out from his normal existence into a dangerous, glamorous street world. that sequence when chris cross first sees kitty is close to being the essence of noir. it stopped raining. yeah, a half-hour ago. oh, which way is it to the east side subway? 'round the corner, past the el, 4 blocks. oh, thank you, officer. i guess i got turned around. these streets are all mixed up in greenwich village. (hoberman) appearances are deceptive. space is deformed by the lighting patterns. it's the city late at night.
Search Results 0 to 3 of about 4 (some duplicates have been removed)